Marie Rambert (1888-1982) was a prominent dance teacher in British Ballet. She is pictured here in the late 1940’s with students. Rambert founded the Rambert Dance Company which is active today.
In the late 19th century, Ballet developed mainly in Russia. That development included the revival of the male role and rise of the pas de deux.
Ballet Society, New York, 1948. Photo: Irving Penn.
THE DREAM. Choreographer: Frederick Ashton. Music: Felix Mendelssohn. Story: W. Shakespeare.
The Dream is a one-act ballet adapted from Shakespeare created in 1964 for the Royal Ballet. Depicted is elegant Oberon, king of the forest fairies, in a later production.
ONEGIN. Choreographer: John Cranko. Music: Pyotr Ilyich Tchaikovsky. Story: A. Pushkin.
With music by Pyotr Ilyich Tchaikovsky (1840-1893) and first performed in 1965, Onegin is one of the most popular story ballets for audiences to watch and for dancers to aspire to perform in. His ballet masterpiece, Onegin was created by John Cranko (1927-1973). The lead roles of Tatiana and Onegin, and Olga and Lensky, are finely drawn characters who tell a story of love and tragedy through a series of intricate and diverse dance sequences.
MAYERLING. Choreographer: Kenneth MacMillan. Music: Franz Liszt. Story: G. Freeman.
A staple of The Royal Ballet since its premiere in 1978, Mayerling was created by principal choreographer and former artistic director Kenneth MacMillan (1929-1992). It is the tragic story based on a true story of the murder-suicide of the crown prince of Austria-Hungary and his mistress. The music is by Franz Liszt. Appearing in virtually every scene in a three-act ballet, the male lead dancer performs with five different ballerinas. It is one of the most demanding roles of the ballet stage. Mayerling is the Imperial hunting lodge in the Vienna Woods where the bodies of the pair were discovered on January 30, 1889.
Ballerina: Pierina Legnani (1868-1930).
Pierina Legnani (1868-1930) is considered the greatest Italian ballerina of the late nineteenth century. Legnani trained at La Scala Theatre Ballet School in Milan and danced famously in Europe, especially Italy and Russia. In the photograph she is depicted in 1896 at the Imperial Marinsky Theatre in Saint Petersburg, Russia. She is in the lead role in La Perle, an original production created for Legnani.
A production at The Mariinsky Theater of ballet and opera which opened in 1860.
Pierina Legnani and Olga Preobrajenska (1871-1962) in 1899. They were two of the greatest ballerinas in the late nineteenth century.
GISELLE. Choreographer: Jean Coralli and Jules Perrot. Music: Adolphe Adam. Story: Théophile Gautier and Vernoy de Saint-Georges.
Natalya Bessmertnova and Mikhail Lavrovsky dance the roles of Giselle and Albrecht in Adam’s ballet Giselle. With its premiere at the Paris Opera (Salle Le Peletier) in June 1841, the ballet Giselle was a triumph and staged across Europe. The music is composed by Adolphe Adam (1803-1856) and became the French composer’s most popular and enduring work. Musically, Adam introduced the leitmotif, that is, a specific theme for a character who appears on stage in the ballet. The libretto was scored by Théophile Gautier (1811-1872) and Jules-Henri Vernoy de Saint-Georges (1799-1875) with choreography by Jean Coralli (1779-1854) and Jules Perrot (1810-1892). The story is about two lovers, Giselle and Albrecht. When Giselle discovers that Albrecht is betrothed to Bathilde she dies of a broken heart at the end of Act I. This leads to the appearance in Act II of a group of otherworldly and potentially mortally dangerous “Wilis,” a type of young female vampire, intent on revenge for Giselle by arranging for Albrecht’s destruction.
Paris Opera (Salle Le Peletier) in 1844 by A. Provost. The print depects the theatre at the time of Adolphe Adam’s triumphant ballet Giselle. The opera building, opened in 1820, was destroyed by fire in 1873 and replaced in a new location by the Palais Garnier.
Opera Le Peletier salle in 1858 by Gustave Janet (1829-1898).
COPPÉLIA. Choreographer: Arthur Saint-Léon. Music: Léo Delibes. Story: Charles-Louis-Étienne Nuitter.
Coppélia is based on Der Sandmann by E.T.A. Hoffmann (1776-1822). The comic ballet was choreographed by Arthur Saint-Léon (1821-1870) to the music of Léo Delibes (1836-1891). The libretto is by Charles-Louis-Étienne Nuitter (1828-1899). The comedy about mischief-making village folk premiered in May 1870 and, though it later went on to become one of the most popular works of the Paris Opera Ballet, was immediately interrupted by the Franco-Prussian War and siege of Paris. Italian ballerina Giuseppina Bozzaccchi (1853-1870) first danced the part of Swanilda. Tragically, the 17-year-old ballerina died from malnutrition related to the war’s privations in November 1870. In this photograph from a 2014 production by the English National Ballet, Shioro Kase dances as Swanilda and Yonah Acosta dances as Franz.
PAQUITA. Choreographer: Joseph Mazilier. Music: Edouard Deldevez. Story: Joseph Mazilier and Paul Foucher.
Natalia Osipova dances as Paquita at the Royal Opera House, London. The two-act ballet is set in Spain during the Napoleonic Wars. It tells the love story of a French military officer and a Spanish gypsy woman.
Ballerina: Marie Taglioni (1804-1884).
Marie Taglioni had many spectacular ballet accomplishments in her dancing career that spanned 25 years. Marie’s parents were both dancers. Her Swedish mother was a ballet dancer and her Italian father was a dancer, choreographer, and ballet master in Vienna at the Court Opera. Marie was rigorously trained by her father in Vienna– six hours each day of ballet practice for six days a week. The hard work paid off. At 17 years old, Marie made her debut in Vienna in Rossini’s La reception d’une jeune nymphe à la cour de Terpischore, choreographed by her father. Over the next 5 years Marie danced in cities in Austria and Germany until, in 1827, she made her Paris Opéra debut. In 1832 Marie is credited with dancing en pointe (on tip toes), an innovation for ballet theater at that time. As a famous celebrity, Marie Taglioni influenced fashion and hairstyles in the 1830’s.
Marie Taglioni as Flore in Charles Didelot’s ballet Zephire et Flore. Hand-colored lithograph, c. 1831 by Alfred Chalon (1780-1860). The first famous ballerina, Marie Taglioni influenced hairstyles and fashion in the Romantic Era of the 1830’s and was the first ballet dancer to move en pointe.
Marie married in 1832 but was separated in 1836. She bore a child with a lover in 1836 but he died soon after. In 1837 Marie accepted a dance contract to perform in Russia at the famed Imperial Ballet in St. Petersburg. Marie remained at the Imperial Ballet until 1842, the same year she gave birth to a second child. In 1843 she danced in Milan at La Scala in another of her father’s ballet creations, La Sylphide and in 1845 appeared in London at Her Majesty’s Theatre dancing in Pas de quatre choreographed by Jules Perrot (1810-1892). In London, Taglioni was one of the famous ballerinas to appear in this production dancing alongside Carlotta Grisi (1819-1899), Lucile Grahn (1819-1907) and Fanny Cerrito (1817-1909).
Dominating the image is Marie Taglioni, standing with her arms en couronne, surrounded by ballerinas Lucille Grahn, Fanny Cerrito, and Carlotta Grisi for the 1845 London production of Pas de Quatre. Lithograph by English artist and engraver Thomas Herbert Maguire (1821-1895).
In 1847 Marie Taglioni retired from the stage following her appearance in The Judgment of Paris, a ballet that concludes an opera (1754) by Christoph Gluck. She lived in Venice into the 1850’s. Marie Taglioni returned to Paris in 1857 to take up the position of dance examiner at the Paris Opéra. One day before her 80th birthday, she died in Marseilles. For posterity there is some mystery as to the exact location of her grave for it is not known into which cemetery in Paris Marie Taglioni was exactly buried.
To be continued.